Reckless Decision

AN UPDATED COMMENT This is an exploitation film produced by John Noble for High-Art Pictures, and has also been released with two other titles: PROTECT YOUR DAUGHTERS and SUSPICIOUS MOTHERS, highly cut while incorporating a large portion from an earlier feature from the same year: MARRIAGE ON APPROVAL, also a pre-Code work, mild as it may be in delineating the differences between improper and socially correct behaviour. The premier historian of American sound film during the period 1929/60, Les Adams, who possesses the work's original pressbook, supplies this data, and adds that the production of MARRIAGE was most likely sold for television reproduction c. 1949 and that the alternated titles subsequently appeared. The long first scene is obviously a latter-day appendage and is marked by such poorly structured action and patently didactic dialogue that one is apt to view with cheer the subsequent evidence of a fall from grace on the part of teenaged Beth (Barbara Kent), daughter of a preacher (William Farnum), at the hands of her lover and friends. The acting is variable in quality, as Kent, Doris Eaton, Edward Woods, and Don Dillaway contribute their best considering the material, while Adele Riggs is excruciatingly bad with her delivery, but it all matters little, as the lesson to be delivered to the audience is lost as this morality play wobbles to a weakly happy ending.

This is an exploitation film produced by John Noble for High-Art Pictures, and has also been released with two other titles: PROTECT YOUR DAUGHTERS and SUSPICIOUS MOTHERS, highly cut while incorporating a large portion from an earlier feature, unfortunately not identified but also a pre-Code work, mild as it may be in delineating the differences between improper and socially correct behaviour. The long first scene is obviously a latter-day appendage and is marked by such poorly structured action and patently didactic dialogue that one is apt to view with cheer the subsequent evidence of a fall from grace on the part of teenaged Beth (Barbara Kent), daughter of a preacher (William Farnum), at the hands of her lover and friends. The acting is variable in quality, as Kent, Doris Eaton, Edward Woods, and Don Dillaway contribute their best considering the material, while Adele Riggs is excruciatingly bad with her delivery, but it all matters little, as the lesson to be delivered to the audience is lost as this morality play wobbles to a weakly happy ending.

Protect Your Daughter (1933)

** (out of 4)

Listen up all you mothers. Did you know that if your daughter was a virgin yet you suspected her of being a whore and told her about it, the virgin daughter would "put the game in the name" and become a whore. This is a tragic, hard hitting and emotionally devastating drama that packs a punch like no other film from this era. Nah, I'm just bullshitting but this is a decent exploitation film that actually has a decent story. There aren't any over the top laughs but it's still watchable.

This feature, known as both PROTECT YOUR DAUGHTERS and RECKLESS DECISION (the latter is the title on my copy), features a frame story--shot on one small set-up with a static camera and actors talking in the manner of the padded footage in a Jerry Warren film such as ATTACK OF THE MAYAN MUMMY--and a core story from another film that takes up about 75% of the film. Interestingly, the credits contain the names of some of the actors in the frame story as well as actors CUT from the frame story! And the actors in the main story, including well-known William Farnum, are NOT listed in the credits. There's not much sleaze here if that's what you are looking for--this is even tamer than the sound version of ROAD TO RUIN. The credit for photographer Frank Zukor (aka Zucker) leads me to believe that the frame story may have been a NYC-based Bud Pollard production (Pollard is best-known today for his 1940's Black-cast films and for being president of the Screen Directors' Guild). Zukor shot Pollard's VICTIM OF PERSECUTION and some Yiddish-language features. Perhaps some Yiddish film scholar can enlighten us about the origin of this film. There's undoubtedly an interesting story behind this strange patchwork feature( While we're discussing exploitation films, I believe SEX MADNESS was also made by people who otherwise made Yiddish films). However, this film will be of interest ONLY to the serious student of exploitation films or odd patchwork features such as, say, GUN CARGO or CALL OF THE ROCKIES.

After learning that a lost short film (similarly titled Tell Your Children, in which Alfred Hitchcock had worked in the art department) had scenes edited into this film, the only remnants of that film, I searched for it, found it, watched it, and ... was I ever disappointed. The footage from that film apparently amounts to a handful of seconds'worth of footage, and it consists of someone opening a Bible and leafing through it, and a scene of some girls riding bikes along a residential street. It is obvious those shots were taken from a different film, as they are of a different, more high contrast film stock, and have a choppy look to them.

The rest of the film tells the tale, in laborious detail, of strictly conservative religious parents attempting to keep their daughter away from the likes of marijuana and staying out late.

Stage-bound melodrama, might be worthy of watching just for a couple of unintended laughs at the expense of the ultra straight-laced screenplay, featuring putrid dialogue delivered with acting which can be best described as stiff-as-a-board; puzzling use of flashbacks; and the creepy and preachy dad with seemingly painted-on eyebrows and moustache (who says to his wife, who is growing impatient: "Keep your pants, your shoes, keep them on!") ..... and its abrupt, awkward ending.